Music supplement to the Lutezine to Lute News 127 (October 2018): Melchior Neusidler part 2 -settings of Der alten Weiber Tantz - Fantasias and Recercars of Antonio Becchi and the Hirsch lute book - more settings of The Nightingale and John Dowland JD44, JD81 plus Music for the Strangs
Melchior Neusidler part 2
For the second part of the Melchior Neusidler series here is another group of fantasia, intabulation and dance in settings in F and G. The fantasia is for 6-course lute and in G major (assuming a lute in G) and printed in the second book of Melchior's Italian tablature edition of 1566. The fantasia is transcribed into German tablature in Drusina's 1573 edition of Melchior's 1566 books and into French tablature in Phalèse and Bellère's Theatrum Musicum Longe of 1571. It turns up again with some significant variants and alternative barring a few decades later in Besard's Thesaurus Harmonicus where it is mistakenly attributed to Fabrizio Dentice and is also found in Mathew Holmes first lute book from the 1590s ascribed to CK, whose initials also appear at the end of several pieces in the Cambridge manuscript Add.3056 probably as a sign that CK collected rather than composed them as they include music known to be by others. The same fantasia is transposed down a tone to F major in a German tablature manuscript with a 7th course in F added as noted in the title by the phrase auff 13 Saiten, that is, on 13 strings or single top course and the rest paired (MN2ai). Holmes' version is nearly identical to Melchior's print and is included here as MN2aii, whereas Besard's setting is quite different in places and so is also included as MN2aiii. The vocal intabulation is of Verdelot's madrigal Vita della mia vita (life of my life), and Melchior's setting in G is also found in Phalèse and Bellère's 1571 print and Jobin's Das Erste Büch of 1572. In the earlier 1568 edition of Theatrum Musicum, Phalèse & Bellère included a different intabulation of it, and two more settings are in the prints of Valderrabano and Barberiis. The dance is Melchior's setting of Der alten Weiber (the old woman) with three strains of 4-bars each with divisions and a triple time after-dance from his Teutsch Lautenbuch of 1574. Didn't mention Jacobs 10
MN2ai. PL-Kj 40598, ff. 17r-18r Fantasia auff 13 Saiten pp. 6-7
MN2aii. GB-Cu Dd.2.11, ff. 79v-80r A fancy C K 8-9
Neusidler II 1566, pp. 40-42 Recercar secondo
Phalèse and Bellère 1571, ff. 14v-15r Fantasia 2
Neusidler 1573, sigs. L3v-L4r Recercar Secondo
MN2aiii. Besard 1603, ff. 14v-15r Fantasia Fabricij Dentici Neapolitani 10-
MN2b. Neusidler I 1566, pp. 7-8 5 Vita de la mia uita 12-13
Neusidler I 1573, sigs. B4v-C1r 5 Vita de la mia Vita
Phalése and Bellére 1571, f. 57v Vita della mia vita
Jobin 1572, sigs. C1v-C2v 5. Vita de la mia vita
cf. Barberiis V 1546, ff. 16r-16v Vitta de la mia uitta - in A; Valderrabano 1547, f. 39r Vita de la mia vita - segunda parte Quel foco che; Phalèse & Bellère 1568, f. 50v Vita della mia vita; cf. Verdelot 1536, ff. 23r-24r Vita de la mia uita - lute song
MN2c/H2a. Neusidler 1574, sig. K4r Der alten Weiber Tantz - Volget der Hupffauff - Hudson 2 (see below for cognates) 14
Der alten Weiber Tantz
This is the third in the series of the fifteen most popular Deutsche Dantz in Richard Hudson's The Allemande, The Balletto, and The Tanz (Cambridge University Press 1986). MN2c above is one setting and ten more are included here, although H2i is the bass only and H2k is a simple cittern accompaniment lacking the melody. The lute settings are in one of two keys all with three strains of 4-bars each with or without divisions and sources are from the prints of Drusina and Waissel and settings in the Jan Arpin (Czech) manuscript and an Austrian manuscript, all in German tablature. A setting by the Fleming Adrian Denss is in French tablature and another is in Italian tablature in the lost Chilesotti manuscript with a title that translates as 'a German piece'. The tune is also used in a setting for 6-course cittern (H2h). So, this is another example of a deutsch dantz migrating around Europe.
Allemande Imperial in Denss 1594 91r = Loss - any more?
H2a/MN2c. Neusidler 1574, sig. K4r Der alten Weiber Tantz - Volget der Hupffauf p. 14
H2b. Waissel 1591, sig. C2r 17. Tantz - Sprung 16
H2c. Denss 1594, f. 91r Allemande Imperial 16
H2d. D-Z 115.3 (Arpin), f. 9v Tanecz - nachtanz 17
H2e. D-Z 115.3, f. 10r untitled - nachtanz (a tone up) 17
H2f. Drusina 1556, sig. l2r Tantz - Sprunck 18
H2g. A-Wn 19259, f. 4r Der Hertzog Augusti Dantz 18
H2h. I-BDG chilesotti, p. 144 Un pezzo tedesco - Nachtantz 19
H2i. D-B 40588, p. 17 Alter Weyber Tantz 19
H2j. Kargel 1575, sig. H3r Almanda Imperiala - RePrinse Der nach Tanz
- 6-c cittern (italian tuning) 20
H2k. CH-Dberther, p. 436 Alte Wiber und Satan. Ein Dantz Nachdantz - cittern (french tuning) 85
keyboard: Schmid 1577, sig. Z3v Der Imperial. Ein Fürstlicher Hofdantz - Der Hupfauf; Ammerbach 1583, p. 197 Ein Schlesier Dantz - Proportio
Fantasias & Recercars published by Antonio Becchi
Records show that Antonio Becchi was born in Parma in 1522 and died there in 1566. Girolamo Scotto published a lute book by Becchi posthumously in 1568, and no second volume is known presumably because he died young. On the title page (see facsimile below) he claims to have composed the music but the nine fantasias and recercars, all edited here, include arrangements all transposed up or down a tone of three known from Francesco Spinacino's Intabulatura de Lauto Libro secondo published by Petrucci in 1507 (B5, B6 & B8), and one by Francesco da Milano first published in 1546 (B7). The Spinacino originals were edited for Lute News 104 (December 2012), and two variants of the Francesco original are reproduced here (B7b&c) for comparison, the first also edited in Ness and in Lute News 77 (April 2006) in the complete Francesco series. Becchi's transposition is based on the version published in Venice (B7b). Two Becchi fantasias also utilise variants of vieil ton tuning, B4 tuning the sixth course down a tone, and B8 with the unique tuning of the fifth course tuned down a tone (despite the Spinacino original being in vieil ton): both have been adapted to vieil ton here (changes in grey). B2 and B3 are good examples of italianate fantasias for lute and may be borrowed from lost prints, the former reminiscent of Francesco in places and reprinted by Pierre Phalèse in 1571. The figuration of B1, B3, B4 & B9 is not idiomatic for the lute and so could be Becchi's intabulation of consort music. In fact, the first is an intabulation of an anonymous chanson published in 1530 (B1b is a different lute intabulation). All nine have been edited slightly to make them easier to play (changes in grey). B9 is very long at 248 bars and is episodic with several attractive sections of polyphonic imitation (see bars 1-18, 25-34, 54-68 & 83-96). It is awkward on the lute and might have sounded better played by an instrumental consort. The strong beats fall in the middle of bars from bar 132 to the end in the original which may have been a type setting error at the printers and so two minims have been changed to crotchets in bar 132 and barring moved by a minim from then until the end.
B1a. Becchi 1568, p. 79 Fantasia p. 22
direct intabulation of L'aultre jour (RISM 15303 no. 14: anon)
B1b. D-Mbs 266, f. 64r 117 L'autre jour par un matin 23
= D-Mbs 267, f. 42r Laultre iour ie vys par vng matyn la fille de notre voysin qui se tenoyt a vng gensdarme alarm alarme
B2. Becchi 1568, p. 80 Fantasia 24
Phalèse & Bellère 1571, f. 10r Fantasia
B3. Becchi 1568, p. 81 Fantasia 26-27
B4. Becchi 1568, p. 82 Fantasia per accordar il lauto in altro modo 27
B5. Becchi 1568, pp. 82-83 Recercare 28
Spinacino II 1507, ff. 54v-55r Recercare Francesco Spinacino - tone lower
B6. Becchi 1568, pp. 84-85 Fantasia 29
Spinacino II 1507, ff. 53v-54r Recercare Francesco Spinacino - tone higher
B7a. Becchi 1568, pp. 85-86 Recercare - Ness App 13 (a tone down) 30-31
B7b. Milano/Borrono/Scotto II 1546, ff. 30v-31r Fantesia del diuino Francescho da Milano - Ness 26 32-33
Milano/Gardane I 1546, sigs. E1r-E2r Fantesia di F. da milano
Phalèse Carminum IIII 1546, sigs. aa4v-bb1r Fantasie de Francoys de Milan
Milano/Gardane I 1556, ff. 17r-17v Fantesia di F. da milano
Milano/Scotto I 1563, pp. 29-30 Fantasia di F. da milano
Phalèse Selectissimorum 1573, sigs. aa4v-bb1r Fantasie de Francoys de Milan
S-Uu 412, f. 27r untitled - fragment of first 34 bars (not in Ness)
B7c. F-Pn Rés.429, ff. 81v-83r Recercata di francesco milanese 34-35
Sulzbach II 1536, ff. 22v-23r R [header: Recercata di Francesco Milanese] - neapolitan tablature
B8. Becchi 1568, p. 87 Recercare per accorda il lauto in altro modo 36
Spinacino II 1507, ff. 51v-52r Recercare Francesco Spinacino - tone higher
B9. Becchi 1568, pp. 88-91 Recercare 38-41
The Nightingale - continued
One lute setting of the Nightingale was in Lute News 127 and another eleven are here, for lute in French flat tuning (1) and cittern (3), as well as lute transcriptions of settings for cithrinchen (1), mandore (1) and lyra viol (4). In addition, appendices 1-4 are other tunes with nightingale in their titles: Die Nachtegale Int Wilde and Schwing dich auf Na(c)htigall for lute and The Chirping of the Nightingale and The Mocke Nightingale for cittern. Two instrumental settings of the Dutch song Die Nachtegale Int Wilde are found in a continental lute manuscript and the tune, often with the alternative title Branle maîtresse, is called for to accompany other songs in Dutch song books and manuscripts dating from the 1580s. Schwing dich auf Nahtigall is a German song listed in Ludwig Erk & Franz Magnus Böhme Deutscher Liederhort, vol. II (Leipzig 1893) no. 492. Tony another
Dd.3.18, f. 22v Nigh[t]ingale - duet part; mixed consort:
N1. GB-Ctc O.16.2, p. 130 untitled Lute News
N2. Mace Musick's Monument 1676, p. 201 Nightingal (dedff) 15
N3. GB-NTu Bell-white 46 (Leyden), ff. 33v-34r The Nightingall
- trans lyra viol (defhf) 37
N4. US-CAh MS Mus. 179 (Boteler), ff. 15v-16r The nightingale - cittern 37
N5. PL-Kj 40622, ff. 17v-18r English Nachtigall - trans cithrinchen (feff) 47
N6. GB-Mp 832 Vu 51, p. 21 The Nightingale R[ichard]: S[umarte]: - trans lyra viol (ffeff) p. 49
N7. US-CAh MS Mus. 179 (Boteler), f. 15r untitled - cittern 51
N8. Playford MB 1651, pp. 8-9 Nightingall - trans lyra viol (defhf) 59
Playford MRLV 1652, p. 14 22 Nightingale - lyra viol (defhf)
Playford MRLV 1669, pp. 24-25 39 The Nightingale - lyra viol (defhf)
Playford MRLV 1682, pp. 12-13 18 THE Nightingale - lyra viol (defhf)
GB-En P637 R787.1, f. 3r Nightingall - lyra viol (defhf)
S-Skma Tabulatur No. 3, ff. 77r-76v Engelske Nachtigall - lyra (defhf)
N9. GB-En P637 R787.1, ff. 31v-32r The Nightingall harp # - lyra viol (defhf) is it too much like N7? 73
N10. GB-En Adv.5.2.15, pp. 109-110 nightingall - trans mandore (hfhf) 77
N11. US-CAh MS Mus. 181 (Otley), f. 16r The nightingale - cittern 104
Playford New Citharen Lessons 1652, p. 3 6 The Nightingale - cittern
N12. GB-En Acc.9769 84/1/6 (Balcarres), p. 60 The Nightingale,
with a division by mr Beck (dfedf) 114-115
GB-En Acc.9769 84/1/6, p. 59 The Nightingale, John Morisons way without any division, by mr Beck (dfedf) - bars 1-26 only
App 1a. F-Pn 1186, f. 62v The mocke Nightingale Mr. Silver - keyboard 21
App 1b. US-CAh 179, ff. 18r-17v The Mocke Nightingale - cittern 21
App 2a. PL-Kj 40143, f. 54r Die Nachtegale Int Wilde 65
App 2b. PL-Kj 40143, f. 63r Nachtegale Int Wilde 65
App 3. D-LEm II.6.15 p. 437 Schwing dich auf Nahtigall 69
App 4. Playford 1666, sig. C7r The Chirping of the Nightingale - cittern 73
Other instruments:
GB-Och 1114, f. 28v The nightingale - violin
Eyck 1644/1646/1649, ff 32r-32v/34r-34v Engels Nachtegaeltje - recorder
Greeting 1675/1680/1682, sigs. A1v-A2r/A3r 3 The Nightingale - flageolet
keyboard: DK-Kk 376, f. 12v Engelendische nachtigall; F-Pn Rés.1186, f. 35v The Nightingale = US-Nyp 5609, pp. 122-123 The Nightingale; F-Pn Rés.1186, f. 62v The Nightingale Mr. Henry Loosemore = US-NYp 5609, p. 144 The Nightingale Mr. Henry Loosemore; GB-Och 1236, p. 13 The Nightingale; GB-Lbl Add.10337, f. 9r The Nightingale = US-NYp 5609, p. 11 The Nightingale; J-Tn N-3 35, f. 8v The Nighting Gail; S-K musikhandschrift 4a, ff. 57v-58r Engelska Nächtergal; S-Sk S 228, ff. 40v-41r Engelischer Nachtigal; S-Uu instr.mus.hs.410, pp. 4-5 Engelska Nächtergalen; S-Uu Ihre 284, pp. 146-147 Englische Nachtigall; S-Uu 285, pp. 94-95 Englische Nachtigall; US-NYp 5609, p. 162 The Nightingale; US-NYp 5612, p. 147 The Nightingale; US-NYp 5612, pp. 150-151 The Nightingale
Thank you to Mike Beauvois for bringing to my attention another item to add to the 'bells' theme in the last Lutezine, App 1 here.
App 5. Playford 1666, pp. 1-2 The foure and twenty Changes on 6 Bells - chromatic cittern (italian tuning) 25
App 6. GB-Cu Dd.6.48, ff. 32v-33r The Bells - trans lyra viol (defhf) 25
I have not found any reference to ballads or songs to identify the following two 8-bar tunes titled the clinke (app 7) and only joye (app 8) from Mathew Holmes third lute book, included here as page fillers.
App 7. GB-Cu Dd.9.33, f. 37r The Clinke 72
App 8. GB-Cu Dd.9.33, f. 5r Only ioye 118
App 9. GB-Cu Dd.9.33, f. 60r untitled (galliard) 122
Fantasias from the Hirsch lute book
Nothing was known about this manuscript until it was bought by Paul Hirsch from the Newcastle upon Tyne bookseller Arthur Rogers in 1942. It was then acquired by the British Museum (now the British Library) in 1946. Following enquiries about its provenance Ian Harwood was informed by Arthur Rogers in 1958 that 'I believe it turned up in a box of miscellaneous items at a local weekly sale'. It has been known as the Hirsch lute book, but 'HO' is stamped on both the front and back sixteenth-century calf covers, presumable the initials of the original owner. The tablature is found in two sections (ff. 1r-21v and 64r-69r) separated by eighty-two pages of blank ruled staves (ff. 22r-63r) and followed by another thirty-four pages of blank staves (ff. 69v-86r). Fifteen fantasias are found in the first section and another eleven in the second section. According to Robert Spencer the fantasias were copied in three different hands, the first copying Hi1-15 in the first section and Hi18 & 25 in the second section. The other two hands copied fantasias in the second section only, the second hand copying Hi19-24 and the third Hi16 & 17. Thus, the music in the second section copied by different hands is interleaved rather than in distinct blocks consistent with the scribes working concurrently. Only two of the twenty-six bear ascriptions (Mr John? Merchant and Anthony holborne), but all seem to be fantasias and the composers of others are known from concordances in other sources: William Byrd d.1623 (Hi15) repeated here from the accompanying Lute News 127; Alfonso Ferrabosco the elder d.1588 (Hi2, 4, 5, 17 & 26); Anthony Holborne d.1602 (Hi16 & 19); John? Marchant d.1611? (Hi1a); Francesco da Milano d.1543 (Hi18 & 20?); Renaldo Paradiso d.1570 (Hi11) and one is from the 1584 print of Emanuel Adriaenssen (Hi14) but was not necessarily composed by him. The dates of the known composers suggest a retrospective collection of fantasias. Concordances for eleven are found in Mathew Holmes' lute manuscripts: nine, copied in Hirsch by hands 1, 2 and 3, are in Dd.2.11 (Hi2, 3, 4, 10, 11, 14, 17, 19, 20) and two, copied in Hirsch by hands 1 and 3, are in Dd.9.33 (H12 & 16). Thus, the concordances in Holmes do not correlate with a particular copyist in Hirsch. Most of the fantasias seem to be of English provenance, although the Francesco fantasias are obviously not. Nine are also found in continental sources (Hi2, 3, 5, 14, 16, 18, 19, 20 & 24), including some by English composers. Four fantasias (Hi3, 14, 16 & 19) are also known in settings for bandora and, like the Becchi fantasias above, some (e.g. Hi8-13, 17, 23 & 26) are not idiomatic for the lute and are probably lute arrangements of three or four part instrumental or vocal consort music, and three (Hi8, 9 & 17) are known in consort settings. Hi11 is also presumably a lute intabulation of a keyboard original.
Hi1a. GB-AB 27 (Brogyntyn), p. 15 Mr / Mer/chant: (fantasia) - lute I of a duet p. 52
Hi1b. GB-Lbl Hirsch M.1353, f. 6v untitled - lute II of a duet 53
Hi2. GB-Lbl Hirsch M.1353, ff. 8v-9r untitled 54-55
GB-Cfm Mus.689 (Herbert), f. 44r Fantasia Alfonso Ferabosco
GB-Cu Add.8844, f. 29v untitled fragments
GB-Cu Dd.2.11, f. 21v fantazia Alfonso ferabosco - FerraboscoN 3a
Dowland 1610, sigs. G1r-G1v Fantasia 5 Composed by the most
Artificiall and famous Alfonso Ferrabosco of Bologna
cf. Besard 1603, f. 32r Fantasia Alphonsi Ferrabosci- FerraboscoN 3b
Hi3. GB-Lbl Hirsch 1353, f. 13r untitled 56
D-Hbusch herold, ff. 13v-14r Fantasia - HoveB 361
GB-Cu Dd.2.11, f. 37v untitled - bandora
PL-Kj 40032, p. 203 Fantasia Fantastica d’Inghilterra ma piena d’ogni soauita
Mertel 1615, pp. 146-147 Phantasia 17
cf. Hove Florida 1601, f. 3v Fantasia tertia - HoveB 54
Hi4. GB-Lbl Hirsch M.1353, ff. 13v-14r untitled 57-59
GB-Cu Dd.2.11, ff. 16v-17r fantasia Alfon: ferab - FerraboscoN 5
GB-WPforester welde, ff. 12v-13r Fantazia Alphonso Ferrabosco
Hi5. GB-Lbl Hirsch M.1353, f. 14r untitled
Besard 1603, f. 32v Fantasia Alf. Ferrab - FerraboscoN 4 60
Hi6. GB-Lbl Hirsch 1353, ff. 14v-15r untitled 61-63
=Siena 47r-47v untitled - Andre 18/3/19 Geluit 79
Hi7. GB-Lbl Hirsch 1353, f. 15r untitled 64
Hi8. GB-Lbl Hirsch 1353, f. 15v untitled 66-67
Hi9. GB-Lbl Hirsch 1353, f. 16r untitled 68-69
Hi10. GB-Lbl Hirsch 1353, ff. 16v-17r untitled 70-72
GB-Cu Dd.2.11, f. 40r untitled
Hi11. GB-Lbl Hirsch 1353, f. 17v untitled 74-75
GB-Cu Dd.2.11, ff. 50v-51r fantazy Renaldo Paradiso
keyboard: GB-Lbl Add.30485, ff. 42r-43v A fancy mr renold
Hi12. GB-Lbl Hirsch 1353, f. 18r untitled pp. 76-77
GB-Cu Dd.9.33 ff. 86v-87r a fancy - not copied by Mathew Holmes!
Hi13. GB-Lbl Hirsch 1353, ff. 19v-20r untitled 78-80
Hi14. GB-Lbl Hirsch 1353, f. 20r untitled 80-81
GB-Cu Dd.2.11, f. 22r untitled; GB-Cu Dd.2.11, f. 52v Ban - bandora
Adriaenssen 1584, f. 5r Fantasia [5]
Hi15. GB-Lbl Hirsch 1353, f. 21v untitled 82-83
GB-Lbl Add.29246, ff. 41v-42r Mr. Birde. Fantasia
- lute intabulation of three lower voices (lacking cantus)
F-Pn Rés.1122, p. 16 A Fancy Fantacy William Byrde - short score
consort à4: GB-Ob Mus.Sch.D.245, p. 104 (I), D.246, p. 105 (II), D.247, f. 23v (IV) 10 mr Birde - viol consort (lacking III); US-NYp Drexel 4181, ff. 180v-181r (I), 4184, ff. 151v-152r (II), 4182, ff. 184v-185r (III), 4183, ff. 166v-187r (IV) 4 voc. Mr Bird fantasia; Byrd Psalmes Songs and Sonnets 1611, no. 15 4.Voc. Fantazia
Hi16. GB-Lbl Hirsch 1353, f. 64r fantasia An holborne - HolborneS 2a 84-85
cognates in G: GB-Cu Dd.9.33, ff. 84v-85r fantazia - HolborneS 2b;
Mertel 1615, pp. 223-224 Phantasia 80
GB-Cu Dd.2.11, f. 65r untitled - bandora - HolborneS 63
Hi17. GB-Lbl Hirsch M.1353, f. 64v ut / re / mi / fa / sol 86
GB-Cu Dd.2.11, f. 54v untitled
viol consort à3: GB-Lbl RM.24.d.2 (Baldwin), ff. 118v-119r alfonso ... ut re mi fa (I)/ ut re mi fa (II) / mr: alfonso: ferrabosco (III); GB-Lbl Add.41157, f. 9r ut re my fa sol la - à3; GB-Lcm 2036, ff. 26v-27r ut re my fa sol la - à3
Hi18. GB-Lbl Hirsch 1353, f. 64v untitled - Gregory 8 87
Castilliono Libro Secundo 1548, ff. 27v-28r Fantasia del diuino Francesco da Milano; Scotto Libro Ottavo 1548, sigs. F4vE1r Fantasia del diuino Francesco da Milano - Ness 62
Hi19. GB-Lbl Hirsch 1353, ff. 65r untitled - HolborneS 3 88-89
GB-Cu Add.8844, f. 1r untitled
Mertel 1615, p. 191 Phantasia 56
GB-Cu Dd.2.11, f. 28r fantazia Anth. Holburn - bandora - HolborneS 61
Hi20. GB-Lbl Hirsch 1353, f. 65v untitled - Gregory 20 90-91
Mertel 1615, pp. 222-223 Phantasia 79 - nearly identical!
GB-Cu Dd.2.11, f. 18r fantazia
cf. GB-Cu Dd.2.11, f. 16r i fantasia fran: de milan - Ness 83; Gregory 10
Hi21. GB-Lbl Hirsch 1353, ff. 65v-66r untitled 92-93
Hi22. GB-Lbl Hirsch 1353, ff. 66v-67r untitled 94-96
Hi23. GB-Lbl Hirsch 1353, f. 67v untitled 96-97
Hi24. GB-Lbl Hirsch 1353, ff. 67v-68r untitled 98-99
CND-Mc w.s. (Montreal), f. 47v
begins the same as Mertel 1615, pp. 148-149 Phantasia 19
Hi25. GB-Lbl Hirsch 1353, f. 68v untitled 100-101
Hi26. GB-Lbl Hirsch 1353, ff. 68v-69r untitled 102-104
cf. GB-Och 78-82, f. 15v Quam magnificata sunt from Benedic anima mea (Alfonso Ferrabosco I)
John Dowland part 28 - continued
Two sources of The Earl of Derby's Galliard (JD44a & B) were in Lute News and the other seven are edited here as well as the third part of a set of passamezo variations from an Italian manuscript based on the same theme. The sources differ in many details of figuration and it is now impossible to determine which were Dowland's own rather than interpretations by others. In fact, in my view it is not certain that Dowland himself rather than his son Robert or some other collected and edited the tablature for Varietie in 1610. Like JD544b, JD44d and JD44f lack divisions, the whereas the rest include them. JD44c & JD44e are from Holmes last lute book both with written out ornamental shakes, but they are significantly different even when the errors are corrected. The other two are in continental sources, the one in the Herold lute book only having divisions to the first two strains.
JD44a. GB-Lam 602 (Sampson), f. 13v a galiarde by mr Dowland Lute News
JD44b. GB-Cu Dd.5.78.3, f. 38r J D Lute News
JD44c. GB-Cu Nn.6.36, f. 2r The Erle of Darbies Galiard by Mr Jo. Dowland - DowlandCLM 44 pp. 42-43
JD44d. GB-Gu Euing 25, f. 21r untitled 44
JD44e. GB-Cu Nn.6.36, f. 1r untitled 44-45
JD44f. GB-WPforester welde, f. 7r Galliard Dowlande 45
JD44g. Dowland 1610, sig. M2v The Right Honourable Ferdinando
Earle of Darby, his Galliard - DowlandCLM 44a 46-47
JD44h. D-Hs ND VI 3238, p. 142 Mij lord of Darbois Galliard.
M. Johan Doulandt 48-49
JD44i. D-Hbusch (Herold), ff. 39v-40v Galliarda - not in CLM 50
JD44app. CDN-Mc w.s. (Montreal), ff. 80r-80v (Passemezzo) 3a. p[art]e 51
The only lute solo version of Tarleton's Jig is untitled and in Holmes first lute book, but it was amended in places after he copied it: the original version was in Lute News and the amended version is here and the amended version was included in DowlandCLM as a doubtful attribution. The title is provided in the mixed consort setting and the lute part from it carries the melody in places and so rests in a couple of bars have been filled in to make it playable as a solo. The cittern part is also here, as well as a solo cittern setting titled Tarletons Willy, which I have also transcribed for lute.
JD81i. GB-Cu Dd.2.11, f. 56r untitled - original Lute News
JD81ii. GB-Cu Dd.2.11, f. 56r untitled - annotated DowlandCLM 81 13
JD81app 1. GB-Cu Dd.3.18, f. 53r Tarleton Jigg - consort lute 89
JD81app 2i. GB-Cu Dd.4.23, f. 25r Tarletons Willy - trans for lute 91
JD81app 2ii. GB-Cu Dd.4.23, f. 25r Tarletons Willy - cittern 99
JD81app 3. GB-Cu Dd.14.24, f. 17r Tarletons Jigge - consort cittern 101
cf. GB-Cu Dd.5.21, f. 5r Tarletons Jigge - consort recorder
GB-Cu Dd.5.20, f. 5r Tarletons Jigge - consort bass viol
A critical commentary for all the Dowland and Byrd settings is at the end of this supplement.
Music for Lord, Earl and Lady Strange
All the sources of John Dowland's galliard dedicated to Ferdinando Stanley 5th Earl of Derby are included here and in the accompanying Lute News 127. The Earls of Derby up to Ferdinando were also titled Baron Strange, and four lute solos and one for cittern are dedicated to Lord, Earl or Lady Strange all edited here and probably all dedicated through associations with the stage. The first (S1) has the curious title Mr Strange Gregory hitts [or hills] which may or may not be a reference to a Strang family member. S2 is Lord Strange's galliard from the Marsh Lute book, from the 1580s. S3 & S4 are both settings of Squires galliard probably from a masque of that name and settings are known from the 1580s: one here dedicated to Lord Strange and the other to the Earl of Derby. S5 is a march for Lord Strange and JD in the title presumably refers to John Dowland as composer (DowlandCLM 65). The dedicatee(s) of S2-5 could be either of two Earls of Derby and Lord Strange, Henry Stanley (1531-1593) 4th Earl of Derby 12th Baron Strange or his son Ferdinando (1559-1594) 5th Earl of Derby 13th Baron Strange who were both patrons of the company of acrobats and actors known as Lord Strange's Men from the 1560s until their name changed to Derby's Men in 1593. Ferdinando was known as 'Ferdinando Lord Straunge' when he was summoned to parliament in the 1570s before he became the 5th Earl of Derby when Henry died in 1593. The almaine S6 is ascribed to Robert Johnson (1583-1633) and dedicated to Lady Strange. She could be Margaret Clifford (1540-1596) Henry Stanley's wife although she died when Johnson was only thirteen. The other candidate is Alice Spencer (1559-1637) who married Ferdinando in 1579, presuming she retained the title of Lady Strange after Ferdinando died in 1594 and after she married Thomas Egerton (1540-1617) Baron Ellesmere in 1600 when Robert Johnson was still only seventeen. Incidentally, the almaine is not related musically to the Def Leppard song 'Lady Strange' from their 1981 album High 'n' Dry.
S1. GB-Cu Dd.2.11, f. 10r Mr Strange Gregory hitts p. 20
S2. IRL-Dm Z.3.2.13, p. 357 Gall(iard) Lord Stra(nge) / L 105
S3. US-NHub Deposit 1, f. 10r My Lo(rd) Strange his Galiarde 108
S4. US-CAh 181, f. 3v The Earell of Derbes Galliard - cittern 108
S5/JD65. GB-Cu Dd.2.11, f. 58r Lord Strangs March J. D. 109
S6. GB-Cu Dd.9.33, f. 42v My La(dy) Strangs Ro(bert) Johnson 109
More versions of music by William Byrd
One source of each of thirteen lute arrangements of music by William Byrd were included in the tablature supplement to Lute News 127, and all the other sources for lute or cittern are included here (the illustration right is the Van der Gucht engraving of William Byrd c.1700). 1b is the incomplete intabulation for lute of the Byrd four-part fantazia lacking the upper part. It is in the same key as the complete solo in Lute News which makes for easy comparison. 5b is Francis Cutting's setting of Byrd's Pavana Bray for orpharion from William Barley's A New Booke of Tabliture of 1596. It is nearly identical to the setting in Holmes' Dd.9.33 (when a few errors are corrected in both) but lacks divisions and includes a few ornaments and right-hand fingering dots throughout. Three more settings of Byrd's galliard (7b-d) plus two for cittern (7e-f) are included here. 7(a) in Lute News and 7b & 7c here are all in the same key (F minor) and have three strains of eight bars all with divisions but differ considerably in figuration. App 9 is an anonymous galliard that follows 7c in Dd.9.33 and begins with a theme very like several of Byrd's keyboard galliards but does not seem to be a setting of any of them. 7d is a different setting and is a tone higher (G minor). It follows Collard's setting of Hugh Aston's Ground (13b below) on the last page of tablature in Holmes' Dd.2.11 and Christopher Morrongiello has suggested this lute arrangement of the galliard (7d) might also be by Collard. The cittern settings (7e&f) faithfully retain the three strains of eight bars but without divisions and are quite different to each other, one anonymous and the other presumably arranged by Anthony Holborne for his print The Cittharn Schoole of 1597. Also, 7e has a relatively independent second part for a bass instrument (viol?). 10b is the incomplete intabulation for lute of Byrd's four-part Lullaby lacking the upper part, which is set a 4th (i.e. a course on the lute) higher but otherwise follows the lute solo 10a fairly faithfully, and 10c is a solo cittern setting. 13b is nearly identical to 13a but the page is badly damaged and the missing tablature is reconstructed from 13a (shown in grey).
1(a). GB-Lbl Hirsch 1353, f. 21v untitled Lute News
1b. GB-Lbl Add.29246, ff. 41v-42r Mr. Birde. Fantasia
- lute intabulation of three lower voices (lacking cantus) 106-107
5(a). GB-Cu Dd 9.33, ff. 12v-13r Pauan fr Cutting Lute News
5b. Barley 1596 (Orpharion), sigs. D3v-D4v Master Birds Pauan set by Francis Cutting - Apauan by Mr Byrde 5
7(a). GB-WPforester welde, f. 8r The Galiard Mr Birde Lute News
7b. GB-Lbl Hirsch M.1353, f. 2r untitled 110
7c. GB-Cu Dd 9.33, ff. 59v-60r untitled 111
7d. GB-Cu Dd 2.11, f. 101v Mr Birdes 112-113
7e. Holborne 1597, sigs. I3v-I4r Maister Birds Galliard - cittern & bass 113
7f. GB-Cu Dd.4.23, f. 1v Mr. Birds Galliarde - cittern 115
10(a). GB-Cu Dd 9.33, ff. 4v-5r Mr Birdes Lullaby
set by fr. Cutting Lute News
10b. GB-Lbl Add.31992, ff. 21v-22r fol. 46 Mr Byrde Lullaby
La.p.al.3.t. 116-117
10c. GB-Cu Dd.4.23, f. 8v lullaby - cittern solo 118
13(a). GB-Cu Dd.5.78.3, ff. 41v-42v Collard Lute News
13b. GB-Cu Dd.2.11, ff. 101-101v untitled 119-121
John H. Robinson - November 2018